Dichotomy between Synchrony and Diachrony

Questioin
Explain the dichotomy between Synchrony and Diachrony
Answer:
Dichotomy between Synchrony and Diachrony
The distinction synchrony and diachrony refers to the difference in treating language from different points of view. When we take a synchronic point of view, we are looking at a language as we find it at a given period in time. The diachronic point of view, on the other hand, gives us the historical angle; we look at a language over a period of time along with changes that occurred in it. The principles that introduce this dichotomy enable us to obtain ‘particularly accurate information about a language in its current usage’ (Wilkins). The synchronic linguistics studies how a language works at a given time, regardless of its past history or future blueprint. This has also been called descriptive linguistics.
Though the historical character of a language cannot be ignored, its present form being the result of definite historical processes, changes and transformations, it is necessary for a complete understanding of it to concentrate on the units of its structure at the present moment. Some scholars donot see the two approaches apart : “It is a mistake to think of descriptive and historical linguistics as two separate compartments, each bit of information belonging exclusively in the one or in the other”.
However, on the whole the two areas are kept apart and one is studied to the exclusion of the other. Synchronic statements make no reference to the previous stages in the language.
Linguistic studies in the nineteenth century were historical in character; they originated as part of the general historical investigations into the origins and development of cultures and communities, especially West Asia, Egypt, etc. Such philological researches viewed language at different stages of its progress and attempted to understand relations among different languages. Language families were discovered and genetic affinities identified. Diachronic linguistics was a great discovery of the 19th century, ‘which developed so powerfully and fruitfully from the 1820s to the 1880s. This discovery enabled linguists to explain modern languages as a result of law-governed historical development. (Zhirmunsky)
On a closer look one realises that without a good synchronic (descriptive) work, valid historical (diachronic) postulations are not possible; in other words, a good historical linguist needs to be thorough descriptive scholar too.



 As the Russian linguist V.M. Zhirmunsky observes, ‘In de Saussure’s conception, synchrony is language considered as a system of static oppositions resting on a single temporal plane, a static two dimensional cross-section”.
The discoveries and theories of the synchronic studies offer particularly accurate information about a language in its current usage. ‘The first of these principles distinguishes clearly between descriptions of the language in its contemporary form and descriptions of its historical development’ (Wilkins)

A Constable Calls" composed by Seamus Heaney, an Irish Nobel Laureate.

 A shadow bobbed in the window.
He was snapping the carrier spring
Over the ledger. His boot pushed off
And the bicycle ticked, ticked, ticked..

 

Reference:

                      This excerpt writing has been extracted from the poem " A Constable Calls" composed by Seamus Heaney, an Irish Nobel Laureate.

Context:

                This under-discussion poem is about the fears and apprehensions of the Irish people. Therefore, uncongenial circumstances are demonstrated by the persona's eye-view in a very artistic and elegant style.The persona is stunned and flabbergasted while looking at the Constable as well warrior appliances. The Constable as it is evident by the title of the poem is an ironical and an alarming figure at the rest of the poem. Whereof, the constable, comprehensively, represents the dominated forces.In addition, the poet narrates how the Irishmen were being exploited and harassed. Therefore, to enlighten the actual rationale, the narrator donates the reader particular and persuasive information regarding the authorities' behaviour with the farmers. Although, patriotism and propagandist elements are obvious in this poem, yet through the employment of the poetic techniques like universalization and generalization the poet acquires his target to not being a propagandist which he has stipulated in his "Redress of Poetry" as well. Hence, after the accomplishment of his authoritative and torturous investigation, the constable is going out-side the kitchen, the setting of this poem.

Explanation:

                         

                                  This thought-provoking excerpt is the crux of the poem titled " A Constable Calls". The constable is going out from the kitchen where the personae,child, and his father are present. While the constable is going , according to the persona there is someone outside the window. Might be some female_ the child's mother_or the constable's shadow. Afterwords, due to keen observation, the child listens the sound of tick, tick, tick, after departure of the Constable. Whereof, this expression of impression is the most significant constituent of "A Constable Calls". Hereby, this paragraph of poetry presents the apex of the narrator's view-point through content and form comparatively.

                            According to the content, the excerpt is about the childish imaginations. Although,the Constable has gone from the farmer-house, yet the child is frightened. This very aspect of his childish fancies is proved by the "shadow" like image behind the window. On the other side, it also could be of feminine figure. Actually, alienation from women is too one of the distinguished literary feature in the Post-Modern literature.

                          The sound of "tick, tick, tick" refers to the perpetual dangerous set-up. The personae still is in the anxious and apprehensive state of mind. This type of situation is the significant literary characteristics in the Post-Modern literature and Seamus Heaney is one of the most distinguished poet and critic of this particular age.

                      

                       Though there are some romantic elements in his poetry yet through the use of poetic techniques like universalization, generalization and myth-making he turns them to be the modern way of expression. Accordingly, Impressionism and expressionism are the dominant theme as well particularly in this last quatrain of the poem.

                     

                      According to the form, this quatrain is also one of the most best-expressed pieces of poetry particularly by the mastery pen of Seamus Heaney. This particular quatrain is condensed with figure of speech, e.g. Onomatopoeia, personification, symbolism, alliteration, assonance, consonance, internal rhyme scheme,, Repetition, visual imagery, audacity,organic, kinetic-movement, understatement, etc.

               

                    The very first line of the under-discussion excerpt is written in internal rhyme scheme. It is in other words is an instance of having element of the poetic device consonance, i.e. " A Shadow bobbed in the window". The letters "Dow" are significant in the word "shadow", and "window".

                         The second line of this concerning quatrain is an example of alliteration, i.e. the letter "s" is the starting character "s" of both prominent words "shipping", and, "spring" of this excerpt is similar to each other.

                       The second-last line of this poem and concerning quatrain is an instance of personification. Here, The word "boot" is personified. Here, not the constable pushed the pedal but "boot" himself pushed the pedal .

                     The concluding line of the very significant quatrain and the whole poem is condensed with meanings. Apparently, it is very interesting expression of the ideas. Notwithstanding, bicycle is symbolised. Therefore, the Constable's bicycle is representative of the authorities. Furthermore, through the use of visual imagery and the audible poetic device the poet brands the departure of the constable more strange and significant.

                        The denotation of "ticked, ticked, ticked" is, no doubt, best example of alliteration and repetition but it also predicts the upcoming horrible and catastrophic events. It also refers toward the doomsday.

                       In depth, denotation of "ticked, ticked, ticked" is an onomatopoeic poetic expression. Therefore, it alarms the reader about the upcoming devastating and destructive consequences, e.g. bomb-blast. As a result, one may say that, the tone of the poet in excerpt is to some extent frightened and observing. Moreover, the mode of the poet is anxious and agitated.

            

                 In nutshell, this under-discussion excerpt is a magnificent piece of poetry which deals with a number of themes. Accordingly, his poetic process comes to its apex in this concerning quatrain. Hence, this authentic and illustrative excerpt enlightens the most crucial aspect of Seamus Heaney's poetry; Irishmen were frightened and flabbergasted. They were in a state of dilemma and destruction. They were being exploited by the dominated brutal and barbaric forces. But, on the whole all these stuffs are expressed behind the curtain of poetic techniques, i.e. universalization and generalization.

COMPOSED BY:- M. SALEEM AKHTAR BODLA

Plot Overview

Plot Overview

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Aristotle proposes to discuss poetry, which he defines as a means of mimesis, or imitation, by means of language, rhythm, and harmony. As creatures who thrive on imitation, we are naturally drawn to poetry.
In particular, Aristotle focuses his discussion on tragedy, which uses dramatic, rather than narrative, form, and deals with agents who are better than us ourselves. Tragedy serves to arouse the emotions of pity and fear and to effect a katharsis (catharsis) of these emotions. Aristotle divides tragedy into six different parts, ranking them in order from most important to least important as follows: (1) mythos, or plot, (2) character, (3) thought, (4) diction, (5) melody, and (6) spectacle.

The first essential to creating a good tragedy is that it should maintain unity of plot. This means that the plot must move from beginning to end according to a tightly organized sequence of necessary or probable events. The beginning should not necessarily follow from any earlier events, and the end should tie up all loose ends and not produce any necessary consequences. The plot can also be enhanced by an intelligent use of peripeteia, or reversal, and anagnorisis, or recognition. These elements work best when they are made an integral part of the plot.

A plot should consist of a hero going from happiness to misery. The hero should be portrayed consistently and in a good light, though the poet should also remain true to what we know of the character. The misery should be the result of some hamartia, or error, on the part of the hero. A tragic plot must always involve some sort of tragic deed, which can be done or left undone, and this deed can be approached either with full knowledge or in ignorance.

Aristotle discusses thought and diction and then moves on to address epic poetry. Epic poetry is similar to tragedy in many ways, though it is generally longer, more fantastic, and deals with a greater scope of action. After addressing some problems of criticism, Aristotle argues that tragedy is superior to epic poetry.